The Man Who Killed Don Quixote

Totally bonkers, dreamlike, vintage Gilliam and in the end even Lynchian weird. When it works it's brilliant, when it doesn't, it's baffling and sometimes boring. But even when the script doesn't work, the movie is saved by the incredible cast. It's among both Adam Driver's and Jonathan Pryce best work. Also, I'm in love with Joana Ribeiro.

Along with the opening credits, Don Quixote delivers a speech explaining who he is and why he is such a great man. This is the first of several fine performances of the character. Don't get the idea this film will be easy to follow or understand.

Don Quixote No. 2 attacks a windmill. Again, a great job and very funny.

There's nothing normal or predictable about this movie, and what else would you expect from a member of Monty Python? I discovered their brilliant work some years ago on PBS, long after they were still popular as a group. I wasn't actually thinking about who wrote this until I saw the credits at the end. But it's a brilliant job if you're not looking for logic.

I've heard of Jonathan Pryce, and I've heard he is quite a good actor. What he does here is Oscar caliber, not just because he is quite funny, but because later in the movie Javier comes to realize people laugh at him, and not in a good way, and yet he struggles to keep his dignity. He even seems to realize that he is in fact not Don Quixote. It's a brilliant job.

Adam Driver does a fine job as well as Toby, having to go through so many different situations and emotions, and doing all of this admirably.

If I have to single out any other actors, it would be Joana Ribeiro as Angelica and Olga Kurylenko as Jacqui.

And I didn't quite know where to include this, but there is one funny scene where one of the Don Quixotes attacks a trio of giants. That's quite a funny scene, actually.

There were so many locations listed in the credits, which were too small for me to really read, but wherever this was filmed, it looked great. Wonderful outdoor scenery, an impressive castle, even what appeared to be the ruins of a once fine church. Set decoration should have been considered at Oscar time.

And the costumes! So much of this movie looked like it took place when Don Quixote lived. I won't explain why but it will all eventually make sense. You should find out on your own whether someone was dreaming or fantasizing or whether you were seeing a film or something else.

And let's not forget the music. This was supposed to be Spain, and it had plenty of flamenco guitar which was quite good. Background music was appropriate for an adventure and sometimes sounded like a circus. And in the castle, there were even African drummers and dancers which didn't get shown nearly enough.

Is this family friendly? Even cleaned up for TV, I doubt it. There was one scene where so much was bleeped there wasn't really anything left. But what violence there was didn't have a lot of blood, and some was just funny. A few people die, but in some scenes it's not certain what happened. And one person is shown being burned and then from another angle it's just fabric and what must be fans making it look like flames.

My only explanation of why this movie wasn't mentioned at Oscar time is to compare it to Carrie Underwood in "The Sound of Music". A fine job, but so many others in that production were so much better. And I guess this happens when movies get Oscar nominations. There are just so many great ones.

Not a masterpiece, not a disaster, The man who killed Don Quixote has the qualities and faults of what it is, that is to say, basically, a film for one spectator only : Terry Gilliam himself. Announcing its legend in the opening credits, the film takes pleasure in referring quite openly to the misadventures of Lost in La Mancha, most often through lines put in the mouth of the producer played by Stellan Skarsgard. These winks would be at best anecdotic, at worst narcissistic, if we didn't realize little by little that, we are in the presence of a true cinematic exorcism. Exorcism of this damned project, certainly. Exorcism also, through the character of Toby, of what Gilliam could have become if he had listened to the sirens of advertising and had become a soulless hack. Exorcism finally, and this is the most touching, of what Gilliam is afraid of becoming (and that he may have already become for some), that is to say an old fool who no longer interests anyone, an old dreamer in a materialistic world, a relic from another time, mocked and ridiculed. Thus, despite all its failures (problems of rhythm, lack of breath due to lack of money, episodic structure that works randomly and unfortunately makes Quixote disappear many times), we can only admire this film which bears on its face its testamentary dimension. Transmission, summary of a life, return on his youth, everything is there. Gilliam is Quixote, Gilliam is Toby, Gilliam will die but Gilliam is immortal since his dreams are forever with us on film. This is the bittersweet and somewhat crazy statement of The Man Who Killed Don Quixote, a film about films, a story about stories, an endless dream.

Gilliam's passion project sums up much of his filmography: it conveys almost all of the director's rs recurring tropes, themes and elements. It isn't an easy-to-enjoy film (mostly due to Gilliam's style), nonetheless an interesting film to watch, if not for else, because of its cursed fame.

Don Quixote is mainly about human madness, a theme Gilliam also explored in 'The Fisher King' and in 'Twelve Monkeys', two films from the time when the director started developing this movie. As for visuals, style, and the overwhelming sense of chaos that the third act conveys, it reminds of 'The Brothers Grimm' and more in particular of 'The Imaginarium of Doctor Parnassus', (coincidentally two films that also had, on lower scale, a troubled production). 'The Zero Theorem' and 'Fear and Loathing in Las Vegas' are the only Gilliam films I found to be devoid of any direct connection with Don Quixote.

Adam Driver and Jonathan Pryce pull off memorable performances. I was pretty sure about Pryce succeeding, but didn't expect Driver to be this good, especially towards the end.

Frankly, I think this film was a bit underrated. It's true that Gilliam's post-'Fear and Loathing in Las Vegas' generally had little critical acclaim, but I personally couldn't find anything to complain about, or better, I couldn't find anything arguable that isn't a recurring element in Gilliam's cinema: a chaotic third act, a bittersweet ending, and so on. I enjoyed watching Don Quixote, but I can imagine most of the viewers to find it either uninteresting, dull, chaotic or 'pretentious'.

Don Quixote might be Gilliam's last film. With 'The Zero Theorem' he closed his dystopia Sci-fi trilogy, now he has finally finished the film he probably was most eager to complete, so it seems to me that there are no narratives left that he intends to explore. Let's just hope that I am wrong, and Gilliam will be doing another half-dozen of movies, but otherwise, Don Quixote is the perfect conclusive film for his career. Maybe it's not his best or easier to appreciate, but definitely it is his most representative one.

Terry Gilliam's long-gestating adaptation of Miguel de Cervantes's novel almost came to fruition in the early 2000s, before a series of mishaps forced production to shut down. Gilliam eventually managed to restart production and complete the movie. I should note that "The Man Who Killed Don Quixote" is not a direct adaptation of the novel; it depicts a present-day man (Jonathan Pryce) who convinces himself that he's the famous knight-errant, and that his erstwhile director (Adam Driver) is his squire.

You gotta love a Terry Gilliam movie (and yes, that includes the widely reviled "Fear and Loathing in Las Vegas"). As he often does, he turns out a surreal story with quirky characters. At times the movie is befuddling, with the viewer not totally sure what's real. It's not Gilliam's best by any stretch, but worth seeing. I hope to eventually see the documentary about the failed production of the movie's first attempt.